By Heidi Yeandle
This publication reveals Carter’s deconstruction of the male-dominated self-discipline of Western notion. Revealing the wide philosophical learn that underpins Carter’s intertextual paintings, this booklet deals new readings of her fiction in terms of a number philosophical texts and ideas. by way of re-examining Carter’s writing just about the archived number of her notes that has lately turn into on hand on the British Library, Angela Carter and Western Philosophy places ahead new interpretations of Carter’s writing practices. With chapters reading her allusions to Plato, Hobbes and Rousseau, Descartes, Locke and Hume, Wittgenstein and Ryle, in addition to Kant and Sade, this e-book illuminates Carter’s engagement with various parts of Western proposal, and discusses how this shapes her portrayal of truth, id, civilisation, and morality. Angela Carter and Western Philosophy might be of curiosity to researchers, teachers, and scholars engaged on modern women’s writing, philosophy and literature, and intertextual literary practices.
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Additional resources for Angela Carter and Western Philosophy
See, for example, Doctor Hoffman 122, 126, 221, 245. CHAPTER 3 Hobbes and Rousseau in Heroes and Villains These people, people who are sitting there in their bunkers, are the ones whose imaginations are too impoverished to imagine what the world is going to be like afterwards. (Carter to Appignanesi) This chapter is concerned with how Carter’s research on Thomas Hobbes and Jean-Jacques Rousseau in the late 1960s shapes her portrayal of the post-apocalyptic context of Heroes and Villains (1969), a novel that raises questions surrounding the knowledge and skills needed to survive an apocalypse, and interrogates the difference between the natural and civil states—between the uncivilised and civilised.
At the beginning of the novel, Eve(lyn) claims that Tristessa ‘would always be so beautiful as long as celluloid remained in complicity with the phenomenon of persistence of vision’ (1), using a phrase that, as Alison Lee notes (82), is used in reference to the film star for the rest of the text and recurs throughout Doctor Hoffman11—‘persistence of vision’. While this phrase recalls the sight imagery that dominates Plato’s discussion of acquiring philosophical knowledge, it is in fact a quotation from C.
Moreover, Mother, the Earth Goddess who performs the sex-change operation on Eve(lyn) in the underground desert town of Beulah, uses Tristessa’s films to encourage Eve to imitate Tristessa’s perfect performance of femininity. Eve(lyn) recalls that these films ‘spun out a thread of illusory reality before my dazed eyes’ and showed him/her ‘your [Tristessa’s] marvellous imitation of feeling’ (68). S/he remarks: I do not know if Mother wanted me to model my new womanhood upon your tenebrous delinquescence [sic] and so relegate me always to the shadowed half being of reflected light; but now I know that Mother knew your extraordinary secret, I suspect some other, subtler reason.